“The Robber Bridegroom” at Beck Center for the Arts is a gem in the rough. That’s not how the saying goes, of course, but to call it a diamond in the rough is disingenuous. Diamonds evoke images of grandeur, sparkle and precise cuts. “The Robber Bridegroom,” a tall tale with robbers, mischief, kidnapping and killing, is objectively the opposite–but that doesn’t make it any less valuable. Beck Center’s show is a curious, eclectic, unassuming little production that trades pomp and flash for joy, humor and sincerity.
“The Robber Bridegroom” story began as a Brothers Grimm fairytale that was adapted into a 1942 novella written by Eudora Welty. The novella was then adapted into a Broadway musical with book and lyrics by Alfred Uhry (“Driving Miss Daisy”, “Parade”) and music by Robert Waldman. The show ran on Broadway in 1975 and 1976, rounding out its success with a nationwide tour in 1977.
The story begins when Clemment Musgrove, a wealthy planter on the Natchez Trace, spends a night at an inn in town before making the journey back home. Also staying at the inn are the Harp brothers: Little Harp, an eager and unsuccessful robber; and Big Harp, a disembodied head that Little Harp totes around in a foul-smelling trunk. When Little Harp plots to rob and kill Clemment, the gentleman Jamie Lockhart comes to the rescue. Clemment wishes to reward Jamie by introducing him to his beautiful daughter, Rosamund, unaware that Jamie moonlights as the notorious Bandit Of The Woods and is planning a long con.
Scott Spence explains in his director’s note that he developed a soft spot for “The Robber Bridegroom” after first coming across the show as a teenager. The love Spence has for the show is infused into every aspect of Beck Center’s production.
The youthful cast of “The Robber Bridegroom” is practically bursting with energy and enthusiasm. They execute Lauren Marousek’s lively choreography and staging with vigor, and the joy translates to the audience.
Nic Rhew plays the leading man, Jamie Lockhart. Rhew has a mysterious air and roguish charm perfect for the Robin Hood-esque, morally gray love interest. His velvety vocals are on fine display in the song, “Steal With Style.”
Izzy Baker is cast as the heiress Rosamund. Baker has a crystalline voice and plays the dim-witted, impish character beautifully. Rosamund has a propensity for lying and mischief, and Baker’s wild eyes and crazed smile during Rosamund’s most hair-brained moments are fantastic.
The father figure Clemment is well played by Jordan Potter. After the death of his first wife, Clemment remarried with Salome, a money-hounding, promiscuous woman who despises her step-daughter. Playing Salome in large, loud and stand-out fashion is Ruby Moncrieff-Karten. Moncrieff-Karten is responsible for plenty of laughs throughout the show. Although she does seem a bit too pretty to be the repulsive woman everyone is disgusted by, her earnest portrayal of Salome’s ugly personality helps with the illusion.
Embodying the desperate conman Little Harp is Connor Lirio. Lirio is extraordinarily expressive and a joy to watch. His interactions with Big Harp, the disembodied Morgan Thomas-Mills, are as humorous as they are ridiculous. Rounding out the main cast of characters is Seth Crawford as Goat, a simpleton that Crawford portrays with youthful ridiculousness and naivety.
The show is staged in the Beck Center’s black box Studio Theater with seating arranged on two walls. This intimate space allows actors to get up-close-and-personal and for audiences to feel especially immersed in Trad A Burns’ enchanting light and set design. The walls of Burns’ set are slatted boards reminiscent of a barn that are decorated with dozens of frames and random bits of furniture (think a more aesthetic Cracker Barrel). String lights drape throughout the space, lending it a romantic, dreamy aura.
Also purposefully, wonderfully eclectic is the costume design by Jenniver Sparano. The cast begins the show in modern wear but within the first song don skirts, overalls and other pieces better suited for the place and period, resulting in combinations like knee-high Converse and an apron dress.
As it is set on the Natchez Trace, a historic trail that stretches from Tennessee to Mississippi, “The Robber Bridegroom” fittingly employs bluegrass music within its storytelling. Six talented musicians under the musical direction of Larry Goodpaster sit on-stage strumming and plucking away at their guitar, fiddle, bass and banjo.
Although tucked away from the action so as to not be a distraction, the constant presence of the musicians gives the production a casual, hootenanny feel–like you’re gathering with friends for a night of music, dancing and maybe some drunken tales.
“The Robber Bridegroom” is an intimate, unassuming piece of theater infused with joy and executed with care by an energetic cast and crew, and while it may not be an uber-popular, flashy, hard-hitting diamond of a show, it is an absolute gem.
“The Robber Bridegroom” runs through June 29 at the Beck Center for the Arts
17801 Detroit Ave, Lakewood. Tickets can be purchased by calling (216) 521-2540 or by visiting beckcenter.org, $23-44.
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This article appears in May 22 – Jun 4, 2025.